2.1 Modern Fiction - Virginia Woolf
《达洛维夫人》疾病书写与性别意识研究
064《名家名作》·研究［摘 要］ 以《达洛维夫人》为研究对象，探讨伍尔夫通过书写疾病，借以疾病隐喻指出当时社会落后的性别意识观念影响两性健康发展。
同时，伍尔夫通过作品结局提出，只要人们具备主体性，终能在落后的性别观念束缚之中破茧而出。
［关 键 词］ 疾病书写；性别意识；《达洛维夫人》 《达洛维夫人》疾病书写与性别意识研究薛子彤 高红梅《达洛维夫人》是女性主义者作家弗吉尼亚·伍尔夫的作品，其中有大量对疾病的描述。
伍尔夫曾在《论生病》中感叹“人们原本以为小说本该奉献给流感，史诗本该忠实于伤害，颂歌应献身给肺炎，抒情诗则须尽心于牙疼”①，可见在伍尔夫的写作观中，疾病对作者洞察到的事物本象、剖析出的社会制度有着不同寻常的表现力。
通过疾病书写觉察与揭示的社会性别意识形态，正是伍尔夫持续剖析社会制度的一种表现形式。
伍尔夫曾言，或许公众会觉得一部以流感为主题的小说缺乏情节，公众会抱怨作品中没有爱情，但恰恰相反，“疾病经常穿着爱情的伪装，玩着同样隐秘的花招”②，可见疾病书写在伍尔夫创作中有着意味深长的隐喻。
《达洛维夫人》中大篇幅详写的塞普蒂默斯的弹震症，多次略写的达洛维夫人的心脏病导致病弱的身体状态，追究其人物病因、病状背后的隐喻，就能捕捉到其下隐含着伍尔夫对当时社会性别意识潜在问题的揭示。
一、疾病的显现：社会中迷失的男女伍尔夫曾在《论生病》中谈到生病这种事情司空见惯，却很少有作家将其写入作品之中，可见其对疾病书写的重视。
因而在伍尔夫的作品之中，经常出现对人物疾病的描述。
展示塞普蒂默斯和克拉丽莎·达洛维的病情，便是《达洛维夫人》中的主要情节。
作品中的塞普蒂默斯曾主动申请参战，可他在战场之上变得愈加麻木，后来他结了婚，状态却一日不如一日，他突然意识到自己犯了错，“埃文思牺牲时他毫不在乎；那是最大的罪过……他不爱妻子却和她结了婚……他全身密密麻麻地布满了罪恶堕落的疤痕……人性对这样卑鄙无耻的人的判决就是死刑。
Virginia-Woolf教学内容
Literary Term: stream of consciousness
Version 1: The term “stream of consciousness” which was a coined by William James in
Principles of Psychology (1890) is used to indicate a literary approach to the presentation of psychological aspects of characters in fiction. Generally speaking, there are two levels of consciousness: “the speech level” and “the prespeech level”. The prespeech levels of consciousness are not censored, not rationally controlled or logically ordered. And the “stream of consciousness” novel can be defined as a type of novel in which the basic emphasis is placed on exploration of the prespeech level of consciousness for the purpose of revealing the psychic being of the characters and of studying human nature. The realm of life with which the “stream of consciousness” novel is concerned is mental and spiritual experience, such as sensation, memories, imaginations, conceptions, intuitions, feelings and the process of association. Dorothy Richardson, Marcel Proust, Tames Joyce, Virginia Woolf and William Faulkner are usually regarded as the most prominent the “stream of consciousness” novelists. What these writers have contributed to novel is broadly one thing; they have opened up a new area of life for novel by adding mental functioning and psychic existence to fiction and by creating a novel centered on the core of human experience.
Virginia Woolf 英文简介
Adeline Virginia Woolf（25 January 1882 – 28 March 1941) was an English author, essayist, publisher, and writer of short stories, regarded as one of the foremost modernist literary figures of the twentieth century.During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."Early lifeVirginia Woolf was born Adeline Virginia Stephen in London in 1882 to Sir Leslie Stephen and Julia Prinsep Stephen (née Jackson).Virginia's father, Sir Leslie Stephen (1832–1904), was a notable historian, author, critic and mountaineer.[1] He was the editor of the Dictionary of National Biography, a work which would influence Woolf's later experimental biographies. Virginia's mother Julia Stephen (1846–1895) was a renownedbeauty, born in India to Dr. John and Maria Pattle Jackson. Woolf was educated by her parents in their literate and well-connected household at 22 Hyde Park Gate, Kensington. Her parents had each been married previously and been widowed, and, consequently, the household contained the children of three marriages.According to Woolf's memoirs, her most vivid childhood memories were not of London but of St. Ives in Cornwall, where the family spent every summer until 1895. The Stephens' summer home, Talland House, looked out over Porthminster Bay, and is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the Godrevy Lighthouse, informed the fiction Woolf wrote in later years, most notably To the Lighthouse.The sudden death of her mother in 1895, when Virginia was 13, and that of her half-sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in Greek, Latin, German and history at the Ladies’ Department of King’s College London between 1897 and 1901,and this brought her into contact with some of the early reformers of women’s higher education such as Clara Pater, George Warr and Lilian Faithfull (Principal of the King’s Ladies’ Department and noted as one of the Steamboat ladies).[4] Her sister Vanessa also studied Latin, Italian, art and architecture at King’s Ladies’ Department.The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.[3] Modern scholars (including her nephew and biographer, Quentin Bell) have suggested[5] her breakdowns and subsequent recurring depressive periods were also influenced by the sexual abuse to which she and her sister Vanessa were subjected by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays A Sketch of the Past and 22 Hyde Park Gate).Throughout her life, Woolf was plagued by periodic mood swings and associated illnesses. Though this instability often affected her social life, her literary productivity continued with few breaks throughout her life.BloomsburyAfter the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate and bought a house at 46 Gordon Square in Bloomsbury.Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the Hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008).In 1907 Vanessa married Clive Bell, and the couple's interest in avant garde art would have an important influence on Woolf's development as an author.[6]Virginia Woolf married writer Leonard Woolf in 1912. Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew") the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making –after 25 years can’t bear to be separate ... yousee it is enormous pleasure being wanted: a wife. And our marriage so complete." The two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others.[7] The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and in 1922 she met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville- West, was only twice consummated.[8] In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. Nigel Nicolson, Vita Sackville-West's son, wrote "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her".[9] Aftertheir affair ended, the two women remained friends until Woolf's death in 1941.WorkWoolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family.[10] Her first novel, The Voyage Out, was published in 1915 by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft.Woolf went on to publish novels and essays as a public intellectual to both critical and popular success..Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s.[14]Woolf's work was criticized for epitomizing the narrow world of the upper-middle class English intelligentsia. She was also criticized by some as an anti-Semite, despite her being happily married to a Jewish man. This anti-Semitism is drawn from the fact that she often wrote of Jewish characters in stereotypical archetypes and generalizations, including describing some of her Jewish characters as physically repulsive and dirty.[15].The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings – often wartime environments – of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.[19]Woolf was inspired to write Flush: A Biography book from the success of the Rudolf Besier play, The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by actress Katharine Cornell.Her last work, Between the Acts (1941) sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. .Her works have been translated into over 50 languages, by writers such as Jorge Luis Borges and Marguerite Yourcenar. DeathAfter completing the manuscript of her last novel, Between the Acts, Woolf fell into a depression similar to that which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work.[12] On 28 March 1941, Woolf put on her overcoat, filled its pockets with stones, and walked into the River Ouse near her home and drowned herself. Woolf's body was not found until 18 April 1941.[25] Her husband buried her cremated remainsunder an elm in the garden of Monk's House, their home in Rodmell, Sussex.In her last note to her husband she wrote: Dearest, I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier 'til this terrible disease came. I can't fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that –everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been.。
Virginia Woolf 伍尔夫
Works
Biographies Virginia Woolf published three books to which she gave the subtitle "A Biography": Orlando:usually characterised as a novel inspired by the life of Vita Sackville-West) Flush: more explicitly crossgenre: fiction as "stream of consciousness" tale by Flush, a dog; non-fiction in the sense of telling the story of the owner of the dog, Elizabeth Barrett Browning), reprinted in 2005 by Persephone Books Roger Fry: usually characterised as non-fiction, however: "[Woolf's] novelistic skills worked against her talent as a biographer, for her
Virginia Woolf was an English novelist, essayist, epistler 书信作家, publisher, feminist, and writer of short stories, regarded as one of the foremost modernist literary figures of the twentieth century. During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum格言, "A woman must have money and a room of her own if she is to write fiction."
多角度解析现代主义的意识流文学先驱——弗吉尼亚 伍尔芙(Virginia Woolf)
An ontological (本体 A being-based 论、存在论的) aesthetic aesthetic.
Delve into the minds of its characters in a stream of consciousness approach. The characters’ thoughts and feelings blend into one another, and the outward actions and dialogue come second to the inward emotions and ruminations (沉思、反刍). Changes the point of view frequently, with transitions often marked by the sparse (稀少的) dialogue. While shifting the point of view from person to person, Woolf develops her characters through their thoughts, memories, and reactions to each other. The dynamics between the characters are expressed more fully by their flow of conscious in their mind (thoughts) than by their words. The light dialogue serves to break up the transitions in perspective. By all these techniques, Woolf develops her many-dimensioned characters in a unique and memorable way.
VirginiaWoolf 弗吉尼亚伍尔夫介绍
So, she starts to take action.
• “I turned upon her and caught her by the throat.” • “I did my best to kill her.” • “Had I not killed her she would have killed me.” • “I took up the inkpot and flung it at her.” • “She died hard.” (2216)
Next obstacle…
• To fight against “The
consciousness of— what men will say of a woman who speaks the truth about her passions had roused her from her artist’s state of unconsciousness”
A Room of One’s Own
• ...a woman must have money and a room of her own if she is to write fiction...
-Virginia Woolf
A Room of One's Own • concern with feminist themes. In it she made her famous statement: "A woman must have money and a room of her own if she is to write fiction“. • The book originated from two revised
论文开题报告-简·奥斯汀与弗吉尼亚·伍尔芙的女性主义思想的比较分析
毕业设计(论文)开题报告题目：简·奥斯汀与弗吉尼亚·伍尔芙的女性主义思想的比较分析学院：外国语学院专业：英语学生姓名：学号：200604010320指导教师：2009年3月12日开题报告填写要求1．开题报告（含“文献综述”）作为毕业论文答辩委员会对学生答辩资格审查的依据材料之一。
此报告应在指导教师指导下，由学生在毕业论文工作前期内完成，经指导教师签署意见及所在专业审查后生效。
2．开题报告内容必须用黑墨水笔工整书写或按此电子文档标准格式（可从外语系网页上下载）打印，禁止打印在其它纸上后剪贴，完成后应及时交给指导教师签署意见。
3．“文献综述”应按论文的格式成文，并直接书写（或打印）在本开题报告第一栏目内，学生写文献综述的参考文献应不少于15篇（不包括辞典、手册），其中至少应包括5-8篇外文资料。
对于重要得参考文献应附原件复印件，作为附件装订在开题报告的最后。
4．统一用A4纸，并装订单独成册，随《毕业设计论文》等资料装入文件袋中。
1．文献综述：结合毕业论文课题情况，根据所查阅的文献资料，撰写2500-3000字左右的文献综述，文后应列出所查阅的文献资料。
简·奥斯汀是十八世纪末十九世纪初英国现实主义女作家，给世人留下了《傲慢与偏见》，《爱玛》，《理智与情感》等六部完整的作品，奠定了她在英国文坛不可动摇的地位，被誉为“女性中的莎士比亚”，也被称为十九世纪最伟大的女性作家。
弗吉尼亚·伍尔芙是二十世纪最杰出的女作家，是现代主义与意识流小说的重要代表之一，英国批判现实主义的主要奠基者。
奥斯汀与伍尔芙都是女性主义的先驱。
她们的女性主义思想在她们各自的代表作品《傲慢与偏见》和《一间自己的房间》中有好的体现。
近些年来，一些学者致力于研究她们的作品中所展现的女性主义思想，并且有了一定的成果。
女性主义可以追溯到欧洲文艺复兴和宗教改革运动时期。
当时的人文主义反对神权和封建等级制度，提倡“天赋人权”，实际上这已潜在地包涵了“女性人权”的观念。
Virginia Woolf
Version 1
The term “stream of consciousness” which was a coined by William James in Principles of Psychology (1890) is used to indicate a literary approach to the presentation of psychological aspects of characters in fiction. Generally speaking, there are two levels of consciousness: “the speech level” and “the prespeech level”. The prespeech levels of consciousness are not censored, not rationally controlled or logically ordered. And the “stream of consciousness” novel can be defined as a type of novel in which the basic emphasis is placed on exploration of the prespeech level of consciousness for the purpose of revealing the psychic being of the characters and of studying human nature. The realm of life with which the “stream of consciousness” novel is concerned is mental and spiritual experience, such as sensation, memories, imaginations, conceptions, intuitions, feelings and the process of association.
virginial woolf 伍尔夫简介及小说 展示
It located in the south bank of Thames River, in southwest London, England.
It established as a state institution in 1841.
Location of Kew Garden
The picture of Kew Garden
Eleanor, the "mother of all kisses"
The snail appears to have a definite goal, and the narrator describes the vista before it and the journey it has to tackle .
Introduction-life of the author
•Read “Introduction of Virginia”on page 94 in 5 minutes and answer the questions.
Introduction-woks of Woolf
•EARLY WORKS •The Voyage Out, 1915 《出海》 •Night and Day, 1919 《日夜》 •LATER WORKS •Jacob’ s Room, 1922 《雅各的房间》 •Mrs. Dalloway, 1925 《黛洛维夫人》 •To the Lighthouse, 1927 《到灯塔去》 •Orlando, 1928 《奥尔兰多》 •The Waves, 1931 《海浪》 •The Years, 1937 《年月》 •Between the Acts, 1941 《幕与幕之间》 •COLLECTIONS OF ESSAYS, literary commentaries •A Room of One’s Own , 1929 《一间自己的房间》 •Moments of Being, 1941, 《存在的瞬间》
Virginia Woolf.新ppt
In her last note to her husband she wrote:
I
feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do.
The
philosophy of Bloomsbury discouraged sexual exclusivity, and in 1922, Woolf met Vita Sackville-West. After a cautious start, they began a relationship that lasted through most of the 1920s.
Her
most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the booklength essay A Room of One's Own(1929), with its famous saying, "a woman must have money and a room of her own if she is to write fiction."
Throughout
《达洛维夫人》中的生死问题分析
文学评论·外国文学《达洛维夫人》中的生死问题分析赵少红 武汉大学摘 要：弗吉尼亚伍尔夫凭借娴熟的意识流技巧，通过人物对“生”与“死”瞬间的顿悟，揭示了生活的本质与真谛。
《达洛维夫人》中的各色人物通过对现实生活中的真实体验去感悟精神世界的精髓，从而达到灵魂的顿悟。
关键词：社会空间；大本钟；个人空间；生；死作者简介：赵少红（1990-），女，湖北孝感人，武汉大学外国语言文学学院英文系英语语言文学专业2014级研究生，研究方向：英美文学。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2017)-06-133-01在伍尔夫的这篇小说《达洛维夫人》中，“生与死”这一主题被赋予了深刻的内涵，现代人的生死欲念被展现得淋漓尽致，一．景观所体现的生死问题（以大本钟为例）大本钟是伦敦的标志性建筑，成为了小说故事发展中的重要景观，它蕴含着主人公的思想和价值观念。
据统计，全文中大本钟一共敲响了7次，并且是以每15分钟一次的频率发生，小说中的人物在听到钟声后均产生了不同的心理活动。
大本钟让Clarissa回忆起了从前，并开始思考现状；Septimus回忆起了从前他在战场之上的血雨腥风，他的战友陆续战死沙场，在经历了这一切的一切之后，Septimus 可能经历了重大的心灵创伤，处于一种痴迷避世的现状；而对于此时的Peter来说，大本钟的敲响实际也敲醒了他尘封的美好过去，过去与现实形成了鲜明的对比，所以Peter呈现的现状是沮丧而忧郁的，沉迷于过去，不愿意面对未来。
第一次钟声响起时：“……人们都热爱生活……”，然而，Clarissa却茫然了，她并不知道生命对她来说到底意味着什么，也许在她看来能够活着就是最好的，至于意义，根本就不是她应该思考的问题。
而滑稽的是，当Clarissa的耳边回荡起第二次钟响时，气氛发生了180度的大转弯，她突然觉得压抑与恐慌，一种前所未有的无所适从吞噬了她。
Woolf’s feminist consciousness in a room of one’s own论《一间自己的房间》中伍尔夫的女性主义意识
Wool f’s feminist consciousness in a room of one’s own 论《一间自己的房间》中伍尔夫的女性主义意识School of Inter-cultural StudiesJiangxi Normal UniversityAbstract: As the representative of feministic literature, Virginia Woolf is famous for her special feminist point of view. This paper is trying to analyze Woolf’s feminist consciousness from herself and her work——a room of one’s own. Woolf’s family offers her a rather loose atmosphere; she is also affected by Bloomsbury group and her rich social experience, which are the bases of her feminism. A room of one’s own has six chapters to show the low status of women in history and appeal to gender equality to improving female’s economic status and social status, even suggest gender’s cooperation —Androgyny coexistence. These propositions and theories lay foundation for both women's liberation and female literature.Key words: Virginia Woolf; feminist consciousness; a room of one’s own; gender equality; Androgyny theory;摘要：作为女性文学的代表人物，弗吉尼亚伍尔夫以其独特的女性观点而闻名。
Virginia_Woolf 弗吉尼亚.伍尔夫
• Part 10: From servants making last- minute party preparations through the end of the party and the appearance of Clarissa. Early night–3:00 a.m.
Structure: one day from morning to night in one woman’s life
• Part 1: From the opening scene, in which Clarissa sets out to buy flowers, to her return home. Early morning–11:00 a.m.
Works
EARLY WORKS
The Voyage Out, 1915 《出海》 Night and Day, 1919 《日夜》
LATER WORKS
Jacob’ s Room, 1922 《雅各的房间》 Mrs. Dalloway, 1925 《黛洛维夫人》 To the Lighthouse, 1927 《到灯塔去》 Orlando, 1928 《奥尔兰多》 The Waves, 1931 《海浪》 The Years, 1937 《年月》 Between the Acts, 1941 《幕与幕之间》
Life
• 她把艺术看得高于一切。不过，她每完成一部作 品常会出现病兆。性格多变的她经常在脸上看出 她内心的痛苦。好在，她患病期间，她的丈夫对 她体贴入微，使她深受感动，“要不是为了她的 缘故，我早开枪自杀了。”
Woolf
简介弗吉尼亚·伍尔芙（Virginia Woolf1882年1月25日—1941年3月28日）。
英国女作家，被认为是二十世纪现代主义与女性主义的先锋之一。
在两次世界大战期间，伍尔芙是伦敦文学界的核心人物，她同时也是布卢姆茨伯里派（Bloomsbury Group）的成员之一。
其最知名的小说包括《戴洛维夫人》（Mrs. Dalloway）、《灯塔行》（To the Lighthouse）、《雅各的房间》（Jakob's Room）。
生平以及著作生平以及著作出生于伦敦的伍尔芙是在家中接受教育的。
结婚以前她的名字是艾德琳·弗吉尼亚·斯蒂芬（Adeline Virginia Stephen）。
1895年母亲去世之后，她第一次精神崩溃。
后来她在自传《存在的瞬间》（Moments of Being）中道出她和姐姐瓦内萨·贝尔（Vanessa Bell）曾遭受同母异父的哥哥乔治和杰瑞德·杜克沃斯（Gerald Duckworth）的性侵犯。
1904年她父亲莱斯利·斯蒂芬爵士（Sir Leslie Stephen，著名的编辑和文学批评家）去世之后，她和瓦内萨迁居到了布卢姆斯伯里（Bloomsbury）。
后来以她们和几位朋友为中心创立了布卢姆茨伯里派文人团体。
她在1905年开始职业写作生涯，刚开始是为《泰晤士报文学增刊》撰稿。
1912年和雷纳德·伍尔夫（Leonard Woolf）结婚，丈夫是一位公务员、政治理论家。
对于自己的婚姻，弗吉尼亚·伍尔夫曾大犯踌躇。
她就像自己的小说《到灯塔去》里的莉丽，尽管认为爱情宛如壮丽的火焰，但因为必须以焚弃个性的“珍宝”为代价，因此视婚姻为“丧失自我身份的灾难”。
一个女人抱持这样悲观的看法，又是在三十岁的“高龄”上才开始构筑“二人空间”，其困难是可想而知的。
然而事后证明，弗吉尼亚的忧虑纯属多余，倒是她的心理症结落下的性恐惧和性冷淡，使婚姻生活从一开始就走上了歧路。
英国女作家virginia woolf
However, James keeps the sailing boat steady and rather than receiving the harsh words he has come to expect from his father, he hears praise, providing a rare moment of empathy between father and son; Cam's attitude towards her father changes also, from resentment to eventual admiration.
Part I: The Window
The novel is set in the Ramsays' summer home in the Hebrides, on the Isle of Skye. The section begins with Mrs. Ramsay assuring James that they should be able to visit the lighthouse on the next day. This prediction is denied by Mr. Ramsay, who voices his certainty that the weather will not be clear, an opinion that forces a certain tension between Mr. and Mrs. Ramsay, and also between Mr. Ramsay and James. This particular incident is referred to on various occasions throughout the chapter, especially in the context of Mr. and Mrs. Ramsay's relationship.
“房间里天使的困境”——《达洛维夫人》中的女性主义解读
2019年18期总第458期ENGLISH ON CAMPUS“房间里天使的困境”——《达洛维夫人》中的女性主义解读文/陈秋伶【摘要】《达洛维夫人》是弗吉尼亚·伍尔夫的代表作，这部小说以一日为框架，生动地描写了一位英国上层社会达洛维夫人和一位名叫史密斯的精神病患者从上午9点到午夜时分约15个小时的生活经历和意识活动。
为了更好地理解这篇小说的深层次意义，本文将从女性主义角度，分析房间里天使的困境，解读伍尔夫的内心世界。
【关键词】弗吉尼亚·伍尔夫；女性主义；达洛维夫人；困境【Abstract】Mrs. Dalloway, a masterpiece of Virginia Woolf, is a story happened in one day. It describes the life and the inner world of Mrs. Dalloway from the upper class and a mental patient named Smith during 9 am to midnight. In order to have a better understanding of this novel, this article analyzes the dilemma of the angel at home from the perspective of feminism, revealing the author’s inner world.【Key words】Virginia Woolf; feminism; Mrs. Dalloway; Dilemma【作者简介】陈秋伶(1982-)，女，重庆渝北人，四川外国语大学重庆南方翻译学院讲师，教育学硕士，研究方向：英美文学，英语教学法。
【基金项目】项目来源：四川外国语大学重庆南方翻译学院院级科研项目，项目名称：英美女性主义小说研究对当代中国两性和谐的启示，项目编号：KY2018018。
伍尔夫《一间自己的房间》的女性主义解读【lunwen+开题+综述】
BI YE LUN WEN（20_ _届）英语伍尔夫《一间自己的房间》的女性主义解读A Feminism Reading of Virgina Woof’s ARoom of One’s Own内容摘要弗吉尼亚·伍尔夫是20世纪文坛上的一名杰出的女作家，她被尊为意识流小说的鼻祖之一，与乔伊斯、福克纳等意识流小说大师齐名。
同时，她又被尊为西方当代女性主义的“母亲”，她认为女性应该在经济上和精神上独立，并拥有自己的生活空间和精神空间。
此外，还要勇于表达自我的真实想法。
她认为女性主义的最终目的是消解两性之间的对立，以达到两者的和谐状态。
因此，她在《一间自己的房间》中提出了“双性同体”理论。
本文试图从女性主义角度解读《一间自己的屋子》，分析伍尔夫的女性主义思想，以期更好的理解文学中的女性主义。
伍尔夫的女性主义思想在21世纪的今天仍有极强的思考意义。
关键字：弗吉尼亚·伍尔夫；独立；空间；双性同体；女性主义AbstractVirginia Woolf is an outstanding woman novelist in 20th century. She has been regarded as one of the representatives of the stream of consciousness, enjoying equal popularity with Joyce and Faulkner. Meanwhile, she is regarded as the mother of modern feminism in the west. She thinks that females should be financially and spiritually independent and have their own living space and spiritual space. In addition, women also need to express themselves bravely and sincerely. She considers the final goal of feminism is to dispel the opposition between males and females and to reach a harmonious state. Therefore, she proposes the theory of androgyny in A Room of One's Own. This thesis tries to discuss A Room of One's Own from the angle of feminism, and analyze Woolf's feminism so as to seek a broader understanding of feminism literature in general. Studying Woolf still has a profound meaning in 21st century.Key words:Virginia Woolf; independence; space; androgyny; feminismContentsAbstract (ii)1 Introduction (4)2 What’s feminism (5)2.1 The etymology of the term "feminism" (6)2.2 T he definition of the term “feminism” (6)2.3 Virginia's concepts of feminism (7)3 Virginia’s feminist idea in A Room of One’s Own (7)3.1 Economic independence (8)3.2 Having a room of one's own (10)3.2.1 Living space (10)3.2.2 Spiritual space (11)3.3 Establishing female's value (11)3.4 The pursuit of androgyny (11)4 Factors leading to Virginia’s feminist view (14)4.1 Her parents’s influence (14)4.2 The Bloomsbury Group’s influence (16)4.3 Sexual Assault by her brothers (17)4.4 The Industri al Revolution and the Women’s Right Movement (17)5 Conclusion (18)Bibliography (47)Acknowledgements (18)1 IntroductionVirginia Woolf (1882-1941), is a famous woman novelist in the 20th century and she is one of the important modernist novelists. Meanwhile, she is one of the representatives of the stream of consciousness, enjoying equal popularity with Joyce and Faulkner. What's more, she is regarded as the mother of modern feminism in the west.Literary criticism of Virginia Woolf has proliferated since the1980s. Some critics appraise her works and some appraise her person; some analyze her work’s consciousness, and some analyze her feminism; some study her works from ethics, some from aesthetics, some from homosexuality, some from psychology. She is not only a great writer, but also a "forerunner, indeed the 'mother' of the contemporary Anglo-American feminism” as Zhu Gang describes. (Z hu Gang 2006: 342) As for her feminism, some criticize her feminism as an extreme type for they think her represented idea of feminism—androgyny means she intends to replace male value with female value; some criticize her deviating the feminism for they think she couldn't bear her own female identity, so she had to give up to the patriarchal society and swamped in the mud of utopian thought of androgyny; while the others praise it highly for it is an advancement in the stage of feminism's development.Xu Wei analyzes Woolf's feminism, both as a theoretical analysis of gender inequality and oppression, and as a political movement. Her paper analyzes that Woolf how to analyze the question of "women writing" in the theory and how to practice it in her writing. Woolf is concerned with the nature of womanhood. The focus on women characters in Woolf's fiction is central to much early feminist criticism, as well as non- or anti-feminist criticism. To an extent, "anger" and "androgyny" are the two terms most central to feminist debates on Woolf. Their centrality serves to further increase the importance of A Room of One's Own as the key text of Woolf's feminism and feminism's Woolf, for it is here that "anger" and "androgyny" are most fully discussed. And A Room of One's Own is seen by many critics to subdue and repress women's anger in favor of a more serene gender—transcendent or androgynous creativity. (Xu Wei, 2004: 38-39) Wu Qinghong tries to analyze, to show and to criticize Virginia's feminism in the development of western feminism. And she indeed did it, comprehensively andintensively. Her main viewpoint is that Virginia Woolf is the most important representative person in the history of feminism's development. Woolf's analysis on feminism corrected the shortage of feminism in 1890s to 1990s, which emphasized the equality between men and women on law. What's more, her feminism inspired the new feminist in 1960s and 1970s to deconstruct male's political and cultural supremacy and establish female's visual angle, which predicted the development direction of post-feminism in 1990s. (Wu Qinghong, 2005: 5) Ma Tingting draws a conclusion that Woolf's feminism is not a panacea for all women, but an occidental one with intense tendency of racialism.(Ma Tingting, 2006: i-ii) Wu Haixia probes the unique feminist thoughts of Virginia Woolf, which she thinks are quite different from most of the other feminists. It is clearly that since the appearance of feminism, the oppositions between men and women have been highlighted, and feminism is related to the marginalization of all women, with their being relegated to a secondary position. Most feminists hold their views that the social culture is a patriarchal culture. Woolf realizes that women are confronted with inequalities and exclusion in the patriarchal society. Woolf witnesses the efforts and achievements the feminists have made to get equal rights and positions with men, whereas she airs her view that the final goal of feminism is to deconstruct the binary oppositions between the two sexes. She presents her famous theory of "androgyny" in A Room of One's Own. She argues that androgyny is the best state of mind for writing, in which a writer can make perfect artistic expression. (Wu Haixia, 2007: ii)Woolf criticizes the patriarchal society in her works, and prompts us to reexamine the history of human by a female angle to create a new civilization. Her ideology and perception opens and enlightens the idea of feminism in many aspects. This paper tries to analyze Woolf's concepts of feminism through the reading of A Room of One's Own, to get a further understanding on feminism, which can also help deepen Chinese female’s comprehension of feminism.2 What’s feminismAt the very beginning of this paper, a basic question needs to be answered. That is what feminism is? In the academic circles of Europe and America, "feminism" generally refers to any activities to strive for and tick up for the right of females. It has several hundred years' history and has complex contents. Therefore, it is difficultto define it.2.1 The etymology of the term "feminism"The term "feminism" is derived directly from the Latin word fēmina,which means woman. This term and its derivatives originated in France during the late 19th century. The first person who called herself feminist was a French suffragette activist, Hubertine Auclert(1848-1914).She first used this term in her periodical called La Citoyenne in 1880.(Cai Qing, 2005: 3) However, although this term was used in her periodicals, it was not popular among women advocates who were rather moderate. Instead of "feminist", these women called their organization "feminine". It was not until the beginning of the 20th century when "feminism" became accepted by most women suffragette activists.2.2 The definition of the term “feminism”In broad sense, feminism can be defined as social movement, which takes eliminating sex discrimination and ending the oppression on women as its political goals. It also includes the revolution in ideology and culture which emerged from the process for pursuing its political goals. In this sense, feminists represent those who devote themselves in this movement sincerely, and any males and females who take part in the revolution of ideology and culture. In its narrow sense, feminism refers to a kind of methodology that regards and analyses a question in a gender perspective.Feminism now stands for a movement or philosophy that questions the unequal balance of power between men and women. Feminists fight for equality between men and women. The term "feminism" has become the name for the women's movement, the quest for social changes aimed at improving the position of women. Feminism is defined both as "the theory of the political, economic, and social equality of the sexes " and " organize activity on behalf of women's rights and interests".（Merriam-Webster, 2003: 461) Hence, the term feminism is not only about the struggle for political rights. It is a system of ideas and a social movement, directed towards opposing men's privilege of position and women's subordination. This term contains redistribution of power and recognition of sex equality.2.3 Virginia's concepts of feminismVirginia Woolf is not only a female writer, but also a pioneer of feminism. Her essential contribution to feminism is her perseverance that social and economic elements are critical to shape women's creativity and perception. According to her idea, women play a historical role to join in the creation of human civilization, especially the arts. What she emphasizes is that females should face the reality and think things that related to them instead of thinking things that concerned men. Therefore, she puts forward the idea that females should set up a literature of their own. To deal with the anger that appears in the process of writing and derives from the inequality between men and women, she proposes a concept of androgyny. An androgynous mind is the best state of mind for doing literary creation. However, it causes a heated debate among later feminists. Although it is controversial, she creates a bright future for females.Virginia's view of feminism is embodied intensively in the idea of androgyny. Androgyny has more than one meaning. It may refer to the anatomical coexistence of two sorts of sex organs in the same body; or else to the allegory of a form of spiritual perfection. In other cases, it is related to the explicit coexistence of male and female qualities in the same entity. (Wu Haixia, 2007: 23-24) To put it simply, androgyny means full balance and command of an emotional range that includes male and female elements. She thinks the final goal for feminism is to eliminate the opposition between males and females. Virginia's feminism includes economic independence, spiritual independence. Her analysis on feminism corrected the shortage of feminism in 1890s to 1990s, which emphasized the equality between men and women on law. What's more, her view of feminism inspired the new feminist in 1960s and 1970s to deconstruct male's political and cultural supremacy and establish female's visual angle, predicting the orientation of post-feminism in 1990s.3 Virginia’s feminist idea in A Room of One’s OwnA Room of One's Own is Virginia's representative work of feminism. In October, 1928, Virginia Woolf was invited to give two academic speeches by Cambridge University. One was in the Art Society of Newnham, the other was in the Gordon women college. The lecture topic was Women and fiction. The next year, she published a brochure,which was written on the basis of these two lectures. Quickly, the booklet amazed the world with a single feat at that time. Up to now, it has become the most famous work and has most readers compared to her other works. It is universally acknowledged as a declaration of western feminism.The work---A Room of One's Own can be divided into six parts. The first part describes an experience in Oxbridge University fabricated by the author, which shows an unfair treatment that females received in a patriarchal society. The second part represents a phenomenon that the author found a large amount of books about women's problems written by men in the England museum. What’s worse, one professor claimed absolutely in his marvelous work that female's intelligence, physical power and morality are all lower than males. In the third part, the writer sketches a hypothetical "Judith" Shakespeare, sister of William, who is as brilliant and promising as he, but her talent is undoubtedly buried by the patriarchal society. Woolf traced back to the females' rough process for getting in the literature arena in the forth part. Aphra Behn (1640-1689), a playwright, novelist and poet of England, who is the first English female to became a professional writer in 17th century. Then women writers began to feel proud and elated. However, most English women writers had to use males' name as pen names to relieve their social pressure during the 19th century. In the fifth part, the author points out that it is necessary to strengthen females' awareness of knowing the difference between males and females. Only in this way, she thinks, females can realize the true value of themselves. In the last part, Virginia agrees with Samuel Taylor Coleridge's androgynous idea, believing that a writer's creative soul should have both masculinity and femininity. In other words, a person is a bisexuality instead of a unisexuality. A person is androgynous. When full balance and command of an emotional range that includes male and female elements reached, these men writers or women writers can create great works.3.1 Economic independenceFemales are facing an economic problem. As is known to all, economy is the basis of living. Women lose their economic source, when the patriarchal society excludes them from the public work, which causes them sink in a poor state. In reality, what females are engaged in are human beings' personal production and all kinds of necessary house works to maintain many families’ functions. When women are doingthese, they use up their physical power, energy, and even sacrifice their lives. However, these are all done in the area of family. Their yields often cannot leave any tangible fruits. For example, the cooked food will be eaten up, the washed clothes will be dirty after wearing again, and children who have been raised up will leave home to get in their own world. Don't these household labors have any value? Is there anybody who pays them salary? Therefore, these natural, non-commercial labors are excluded from the social labor by the patriarchal society, because they are only related with personal family members and they cannot create value directly. Since the unpaid labor take up most energy of females, they lose their subject position in the society and lose the source of finance. Therefore, if females want to get rid of the disadvantaged status imposed on them by history and reality, they should strive for the economic position. Just like what Woolf says in A Room of One's Own, women should have revenue of 500 pounds every year. She considers that the main reason why there are so less women writers is that our mother is too poor. For example, if Mary's mother " had gone into business; had become a manufacturer of artificial silk or a magnate on the Stock Exchange; if she had left two or three hundred thousand pounds to Fernham, we could have been sitting at our ease tonight and the subject of our talk might have been archaeology, botany anthropology, physics, the nature of the atom, mathematics, astronomy, relatively, geography. If only Mrs. Seton and her mother and her mother before her had learnt the great art of making money and had left their money, like their fathers and their grandfathers before them, to found fellowships and lectureships and prizes and scholarships appropriated to the use of their own sex, we might...have looked forward without undue confidence to a pleasant and honorable lifetime spent in the shelter of one of the liberally endowed professions. We might have been exploring or writing; mooning about the venerable places of the earth; sitting contemplative on the steps of the Parthenon, or going at ten to an office and coming home comfortably at half-past four to write a little poetry." (Virginia Woolf, 2005: 576) They haven't learned how to make money, how to manage their own property. For thousands of years, women are handling house works and rearing children, while men are doing business for making money. While princes and aristocrats use their properties to build many schools and libraries, women are rejected out of the colleges; they are restricted in a small circle of family. They have no rights to receive education. As a result of being deprived of enjoying rights of owning their ownproperty, females' desires for making money are constrained. The thousands of years' influence of patriarchal society places women in a penniless position.Women began to walk out of the household in 20th century. Thus, many women writers sprung up. We can see that for the latest hundred years, the appearance of many women writers are concerned with the rights women have achieved, especially the acquirement of economic right, which plays an important and positive role in art creating. Woolf herself also admitted that she and her sister obtained all their father's books after their father's death, so she could start her writing career. In A Room of One's Own, the narrator also repeatedly says that but for her aunt's 500 pounds' heritage, it might have been hard for her to break away most women's fate---working hard in the household or going out for earning money to keep the pot boiling. All in all, females should be independent in the economy.3.2 Having a room of one's ownVirginia said that “a woman must have money and a room of her own if she is to write fiction." (Virginia Woolf, 2005: 555) It has been discussed that females should be financially independent. Now, it turns to a room of one's own. Having a room of one's own not only indicates that females should have their basic living space, but also means that females should have a comparatively free spiritual space.3.2.1 Living spaceIn the past, women were restrained in a small room, being busy at doing trivial house works all day. It was not uncommon that their works would be suspended. What's worse, they had to hide their works quietly to avoid being scoffed. Jane Austen is a good example in A Room of One's Own." For she had no separate study to repair to, and most of the work must have been done in the general sitting-room, subjecting to all kinds of casual interruptions. She was careful that her occupation should not be suspected by servants or any persons beyond her own family. Jane Austen hid her manuscripts or covered them with a piece of blotting-paper." (Virginia Woolf, 2005: 604) Therefore, having a living space for one's own plays an essential role in females' creation.3.2.2 Spiritual spaceMany women writers were born in rich families. They had money and their own living spaces. However, they depended on their parents so much that they didn't go out for traveling to broaden their eyes. They did what their fathers asked and even married to who their fathers picked for them. When they were children, they were subjected to their fathers; when they were married, they were obedient to their husbands; when they were old, they complied with their sons. It is just like the three cardinal guides and the five constant virtues as specified in the ancient Chinese feudal ethical code. Women never had their own minds and their own spiritual space, they were not spiritually independent. Woolf pays more attention to the influences of patriarchal society on women's writing.3.3 Establishing female's valueWoolf finds that women's writing hasn't had their own tradition. Therefore, she proposes that females should set up their own value. To create females' literature or other careers, they have to take two times adventures. First of all, killing the "angel in the house", to be ourselves. Here, the "angel in the house" represents the stipulations that imposed on women by social norms and ideology of traditional culture. It also refers to females' conscious compliance to this oppression. They even turned patriarchal oppression and forbidden into their self requests and self-conscious actions. Facing this, Woolf realizes that the only way is to kill it, otherwise "she will kill me, she will dig out my heart of writing". The second adventure is to express truly the physical experience of ourselves. Women's requests suffered an extreme suppression and twist in the patriarchal society. According to Woolf, the consciousness that how a man will look at a woman who expresses her own real lust disturbs a female writer's imagination and damages her creativity. Therefore, expressing one's own real idea becomes an important means to remove the patriarchal ruling.3.4 The pursuit of androgynyAndrogyny is Woolf's social and literary ideal, but its premise is getting rid of the two sexes inequality and opposition, and the discrimination on females. Many feministsare unwilling to accept this viewpoint. For example, Elaine Showalter points out that "Woolf's androgyny is a female writer's reaction to her crag-fast condition". (Zhugang, 2006: 355) It is a utopia imagination of an ideal artist. Although it is quite controversial, it is a revolt to the creative standpoint of literature which regards male value as the unique standard. It is an initial deconstruction to the binary opposition of sex. It has a great influence on the generation of subsequent feminism theory and its criticism.Androgynous mind is central to Woolf's feminism. She defines it as "a mind that is reason; that transmits emotion without impediment; that is ceaselessly creative; incandescent; undivided. In fact one goes back to Shakespeare's mind as the type of the androgynous, the man-womanly mind." (Huangzhong, 2005: 23-24) Simply speaking, androgyny means full balance and command of an emotion range that includes male and female elements. She thinks that an androgynous mind is the best state of mind for doing literary creation.Woolf proposes at the beginning that "a woman must have money and a room of her own if she is to write fiction." (Virginia Woolf, 2005: 555) However, she also points out that the economic problem is not the only element that impacts women's writing. A placid and healthy state of mind is also necessary. The narrator takes Lady Winchester as an example in the 4th chapter of A Room of One's Own. She was noble both by birth and by marriage; she was childless; she wrote poetry. Her mind was disturbed by alien emotions like fear and hatred, so her poems showed traces of that disturbance:How we are fallen! fallen by mistaken rules,And Education's more than Nature's fools;Debarred from all improvements of the mind,And to be dull, expected and designed;And if someone would soar above the rest,With warmer fancy, and ambition pressed,So strong the opposing faction still appears,The hopes to thrive can ne'er outweigh the fears.Yet it is clear that could she have freed her mind from hate and fear and not heaped it with bitterness and resentment, she could create pure poetry as follows:Nor will in fading skills compose,Faintly the inimitable rose. (Virginia Woolf, 2005: 599-600)Charlotte Brontěmay be another example. As we all know, she is an brilliant English novelist. However, Woolf finds that there is a certain shrillness arising out of her works. Although Woolf thinks that she is more genius than Jane Austen, her anger makes her books "deformed and twisted" (Virginia Woolf, 2005: 606). There is no doubt that a woman writer would become angry in a man-dominated society. She expresses her dissatisfaction in her famous work---Jane Eyre: “Women are supposed to be very calm generously: but women feel just as men feel; they need exercise for their faculties and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer..." (Virginia Woolf, 2005: 606) As a consequence," She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters. She is at war with her lot. How could she help but die young, cramped and thwarted?" (Virginia Woolf, 2005: 606)On the other hand, Jane Austen had been constantly disturbed when writing Pride and Prejudice. Therefore, Woolf thinks that the environment should have influenced her and she would write a better one if there were no disturbances. To Woolf's surprise, when she "read a page or two to see, but I could not find any signs that her circumstances had harmed her work in the slightest." (Virginia Woolf, 2005: 605) She thinks that because Austen wrote "without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote." And "when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare. (Virginia Woolf, 2005: 605)What is the difference between these two groups of examples? We can see that in the last chapter of this essay. The narrator gets the inspiration when she sees a very ordinary sight out of the window: a girl and a young man are coming down the street, meeting at the corner and getting into a cab. Then she sketches a plan of the soul so that "in each of us two powers preside, one male, one female; and in the man's brain the man predominates over the woman, and in the woman's brain the woman predominates over the man. The normal and comfortable state of being is that when the two live in harmony together, spiritually co-operating. If one is a man,still the woman part of his brain must have effect; and a woman also must have intercourse with the man in her. (Virginia Woolf, 2005: 623-624) She thinks that perhaps what Coleridge meant when he said that a great mind is androgynous.4 Factors leading to Virgini a’s feminist viewVirginia Woolf is a productive writer and a great feminist, but first of all she is a social being, so her ideas can not be separated from the factors leading to her feminist view. As a result, it is far from enough to know about her and her work only by knowing her talents and achievements. Her parents and the Bloomsbury Group are of great influence on her writing and her feminist ideas. Besides, there are sexual assault by her brothers, the Industrial Revolution and the Women’s Right Movemen t.4.1 H er parents’ influenceVirginia Woolf was born in a literary family. Her father was the distinguished Victorian author, critic and Alpinist, Sir Leslie Stephen (1832-1904), editor of the Cornhill Magazine (1871-82), of the Dictionary of National Biography (1882-90) and of the Alpine Journal (1868-72), who counted Thomas Hardy, Henry James and George Meredith among his friends (Jane Goldman, 2008: 3). Her mother was Julia Prinsep Stephen (1846-95), who was born Julia Prinsep Jackson, in India, the daughter of John and Maria Jackson. Her maternal grandmother, and Woolf’s great-grandmother and namesake, was Adelin (1793-1845), daughter of Antoine Chevalier de L’Etang and Thérèse Blin Grincourt,who married James Pattle (1775-1845) of the Bengal Civil Service (Jane Goldman, 2008: 4). There is no denying that her parents exerted great influence on her thinking. She was born in a large and well-to-do family, with learned father and mother, intelligence and wide social connection.Her father, Leslie Stephen, a widower, had married Julia Jackson in 1878. Between them they already had four children; after they got married, they had another four children: Vanessa, Thoby, Virginia and Adrian. This family was a typical patriarchal family of Victorian time. In the family, the patriarchs were in charge of everything, owing unassailable powers, capable of enforcing everything upon women. There is evidence in the article of Virginia Woolf and Leslie Stephen: History and。
弗吉尼亚伍尔芙简介(VirginiaWoolf)
深入研究其人物的思想意识流的方法。 • 人物的思想和感情融入彼此,外在行为和对话来第 二内心情感和沉思(沉思,反刍)。 • 经常变化的观点,与转换通常以稀疏(稀少的)对话 。 • 同时将从人的角度来看,伍尔夫通过他们的思想发 展她的角色,记忆,和反应。 字符之间的动态表达更充分的流动的意识头脑(思想) 比他们的言语。光线对话有助于分解转换视角。 通过所有这些技术,伍尔夫发展她的多维性格以一个 独特的和令人难忘的方式
• 意识流来源于心理学的词汇。意识流文
学是泛指注重描绘人物意识流动状态的文 学作品。意识流是在1918年梅· 辛克莱评论 英国陶罗赛· 瑞恰生的小说《旅程》时引入 文学界的。意识流文学是现代主义文学的 重要分支，主要成就局限在小说领域，在 戏剧、诗歌中也有表现
• 反省心理学继承了美国机能主 义心理学家詹姆斯的“意识流” 观点，在此基础上提出完整的 四大意识流学说，对意识流做 出了详细的定义和分类，意识 流指“来自外界或内部无意识 中的某些信息、情感、欲望以 连续运动的方式进、出意识的 过程”。根据意识流内容的不 同，把意识流分为信息意识流、 情绪意识流、欲望（意志）意 识流；根据意识流的来源和形 式的不同，把意识流分为内吸 流、内闯流、外吸流、外闯流 四大意识流。
Born with the tendency to homosexual ity
She loathed sexual life as well as pregnancy
Sexually abused by her halfbrothers
Inherent factors
The sexual abuse to which she was subjected by their half-brothers
Modern Fiction by Virginia Woolf
Modern Fiction by Virginia WoolfIn making any survey, even the freest and loosest, of modern fiction it is difficult not to take it for granted that the modern practice of the art is somehow an improvement upon the old. With their simple tools and primitive materials, it might be said, Fielding did well and Jane Austen even better, but compare their opportunities with ours! Their masterpieces certainly have a strange air of simplicity. And yet the analogy between literature and the process, to choose an example, of making bicycles scarcely holds good beyond the first glance. It is doubtful whether in the course of the centuries, though we have learnt much about making machines, we have learnt anything about making literature. We do not come to write better; all that can be said to do is to keep moving, now a little in this direction, now in that, but with a circular tendency should the whole course of the track be viewed from a sufficiently lofty pinnacle. It need scarcely be said that we make no claim to stand even momentarily upon that vantage ground; we seem to see ourselves on the flat, in the crown, half blind with dust, and looking back with a sort of envy at those happy warriors whose battle is won and whose achievements wear so serene an air of accomplishment that in our envy we can scarcely refrain from whispering that the prize was not so rare, nor the battle so fierce, as our own. Let the historian of literature decide. It is for him, too, to ascertain whether we are now at the beginning, or middle, or end, of a great period of prose fiction; all that we ourselves can know is that, whatever stage we have reached, we are still in the thick of battle. This very sense of heights reached by others and unassailable by us, this envious belief that Fielding, Thackeray, or Jane Austen were set an easier problem, however triumphantly they may have solved it, is a proof, not that we have improved upon them, still less that we have given up the game and left them the victors, but only that we still strive and press on.Our quarrel, then, is not with the classics, and if we speak of quarrelling with Mr. Wells, Mr. Bennett, and Mr. Galsworthy it is partly that by the mere fact of their existence in the flesh their work has a living, breathing, every-day imperfection which bids us take what liberties with it we choose. But it is also true that, while we thank them for a thousand gifts, we reserve our unconditional gratitude for Mr. Hardy, for Mr. Conrad, and in a much lesser degree for the Mr. Hudson, of "The Purple Land," "Green Mansions," and "Far Away and Long Ago." The former, differently and in different measures, have excited so many hopes and disappointed them so persistently that our gratitude largely takes the form of thanking them for having shown us what itis that we certainly could not do, but as certainly, perhaps, do not wish to do. No single phrase will sum up the charge or grievance which we have to bring against a mass of work so large in its volume and embodying so many qualities, both admirable and the reverse. If we tried to formulate our meaning in one word we should say that these three writers are materialists, and for that reason have disappointed us and left us with the feeling that the sooner English fiction turns its back upon them, as politely as may be, and marches, if only into the desert, the better for its soul. Of course, no single word reaches the centre of three separate targets. In the case of Mr. Wells it falls notably wide of the mark. And yet even in his case it indicates to our thinking the fatal alloy in his genius, the great clod of clay that has got itself mixed up with the purity of his inspiration. But Mr. Bennett is perhaps the worst culprit of the three, inasmuch as he is by far the best workman. He can make a book so well constructed and solid in its craftsmanship that it is difficult for the most exacting of critics to see through what chink or crevice decay can creep in. There is not so much as a draught between the frames of the windows, or a crack in the boards. And yet--if life should refuse to live there? That is a risk which the creator of "The Old Wives' Tale," George Cannon, Edwin Clayhanger, and hosts of other figures, * may well claim to have surmounted. His characters live abundantly, even unexpectedly, but it still remains to ask how do they live, and what do they live for? More and more they seem to us, deserting even the well-built villa in the Five Towns, to spend their time in some softly padded first-class railway carriage, fitted with bells and buttons innumerable; and the destiny to which they travel so luxuriously becomes more and more unquestionably an eternity of bliss spent in the very best hotel in Brighton. It can scarcely be said of Mr. Wells that he is a materialist in the sense that he takes too much delight in the solidity of his fabric. His mind is too generous in its sympathies to allow him to spend much time in making things shipshape and substantial. He is a materialist from sheer goodness of heart, taking upon his shoulders the work that ought to have been discharged by Government officials, and in the plethora of his ideas and facts scarcely having leisure to realize, or forgetting to think important, the crudity and coarseness of his human beings. Yet what more damaging criticism can there be both of his earth and of his Heaven than that they are to be inhabited here and hereafter by his Joans and Peters? Does not the inferiority of their natures tarnish whatever institutions and ideals may be provided for them by the generosity of their Creator? Nor, profoundly though we respect the integrity and humanity of Mr. Galsworthy, shall we find what we seek in his pages.We have to admit that we are exacting, and, further, that we find it difficult to justify our discontent by explaining what it is that we exact. We frame our questiondifferently at different times. But it reappears most persistently as we drop the finished novel on the crest of a sigh--Is it worth while? What is the point of it all? Can it be that owing to one of those little deviations which the human spirit seems to make from time to time Mr. Bennett has come down with his magnificent apparatus for catching life just an inch or two on the wrong side? Life escapes; and perhaps without life nothing else is worth while. It is a confession of vagueness to have to make use of such a figure as this, but we scarcely better the matter by speaking as critics are prone to do of reality. Admitting the vagueness, let us hazard the opinion that for us at this moment the form of fiction most in vogue more often misses than secures the thing we seek. Whether we call it life or spirit, truth or reality, this, the essential thing, has moved off, or on, and refuses to be contained any longer in such ill-fitting vestments as we provide. Nevertheless we go on perseveringly, conscientiously, constructing our thirty-two chapters after a design which more and more ceases to resemble the vision in our minds. So much of the enormous labour of proving the solidity, the likeness to life, of the story is not merely labour thrown away but labour misplaced to the extent of obscuring and blotting out the light of the conception. The mediocrity of most novels seems to arise from a conviction on the part of the writer that unless his plot provides scenes of tragedy, comedy, and excitement, an air of probability so impeccable that if all his figures were to come to life they would find themselves dressed down to the last button in the fashion of the hour, he has failed in his duty to the public. If this, roughly as we have stated it, represents his vision, his mediocrity may be said to be natural rather than imposed; but as often as not we may suspect some moment of hesitation in which the question suggests itself whether life is like this after all? Is it not possible that the accent falls a little differently, that the moment of importance came before or after, that, if one were free and could set down what one chose, there would be no plot, little probability, and a vague general confusion in which the clear-cut features of the tragic, the comic, the passionate, and the lyrical were dissolved beyond the possibility of separate recognition? The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions--trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. It is not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible? We are not pleading merely for courage and sincerity; but suggesting that the proper stuff for fiction is a little other than custom would have us believe it.In some such fashion as this do we seek to define the element which distinguishes the work of several young writers, among whom Mr. James Joyce is the most notable, from that of their predecessors. It attempts to come closer to life, and to preserve more sincerely and exactly what interests and moves them by discarding most of the conventions which are commonly observed by the novelists. Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small. Any one who has read "The Portrait of the Artist as a Young Man" or what promises to be a far more interesting work, "Ulysses," now appearing in the Little Review, will have hazarded some theory of this nature as to Mr. Joyce's intention. On our part it is hazarded rather than affirmed; but whatever the exact intention there can be no question but that it is of the utmost sincerity and that the result, difficult or unpleasant as we may judge it, is undeniably distinct. In contrast to those whom we have called materialists Mr. Joyce is spiritual; concerned at all costs to reveal the flickerings of that innermost flame which flashes its myriad message through the brain, he disregards with complete courage whatever seems to him adventitious, though it be probability or coherence or any other of the handrails to which we cling for support when we set our imaginations free. Faced, as in the Cemetery scene, by so much that, in its restless scintillations, in its irrelevance, its flashes of deep significance succeeded by incoherent inanities, seems to be life itself, we have to fumble rather awkwardly if we want to say what else we wish; and for what reason a work of such originality yet fails to compare, for we must take high examples, with "Youth" or "Jude the Obscure." It fails, one might say simply, because of the comparative poverty of the writer's mind. But it is possible to press a little further and wonder whether we may not refer our sense of being in a bright and yet somehow strictly confined apartment rather than at large beneath the sky to some limitation imposed by the method as well as by the mind. Is it due to the method that we feel neither jovial nor magnanimous, but centred in a self which in spite of its tremor of susceptibility never reaches out or embraces or comprehends what is outside and beyond? Does the emphasis laid perhaps didactically upon indecency contribute to this effect of the angular and isolated? Or is it merely that in any effort of such courage the faults as well as the virtues are left naked to the view? In any case we need not attribute too much importance to the method. Any method is right, every method is right, that expresses what we wish to express. This one has the merit of giving closer shape to what we were prepared to call life itself; did not the reading of "Ulysses" suggest howmuch of life is excluded and ignored, and did it not come with a shock to open "TristramShandy" and even "Pendennis," and be by them convinced that there are other aspects of life, and larger ones into the bargain?However this may be, the problem before the novelist at present, as we suppose it to have been in the past, is to contrive a means of being free to set down what he chooses. He has to have the courage to say that what interests him is no longer this, but that; out of "that" alone must he construct his work. The tendency of the moderns and part of their perplexity is no doubt that they find their interest more and more in dark region [sic] of psychology. At once therefore the accent falls a little differently; it becomes apparent that the emphasis is upon something hitherto ignored or unstressed in that relation, a feeling, a point of view suggesting a different and obscure outline of form, incomprehensible to our predecessors. No one but a modern, perhaps no one but a Russian, would have felt the interest of the situation which Tchehov [sic] has made into the short story which he calls "Gusev." Some Russian soldiers are lying ill in the hospital of a ship which is taking them back to Russia. We are given scraps of their talk; a few of their thoughts; then one of the soldiers dies, and is taken away; the talk goes on among the others for a time; until Gusev himself dies and, looking "like a carrot or a radish," is thrown overboard. The emphasis is laid upon such unexpected places that at first it seems as if there were no emphasis at all; and then, as the eyes accustom themselves to twilight and discern the shapes of things in a room, we see how complete the story is, how profound, and how truly in obedience to his vision Tchehov [sic] has chosen this, that, and the other, and placed them together to compose something new. But it is impossible to say that this is humorous or that tragic, or even that it is proper to call the whole a short story, since the writer seems careless of brevity and intensity, and leaves us with the suggestion that the strange chords he has struck sound on and on. There is, perhaps, no need that a short story should be brief and intense, as there is perhaps no answer to the questions which it raises.The most inconclusive remarks upon modern English fiction can hardly avoid some mention of the Russian influence, and if the Russians are mentioned one runs the risk of feeling that to write of any fiction save theirs is a waste of time. If we want understanding of the soul and heart where else shall we find it of comparable profundity? If we are sick of our own materialism the least considerable of their novelists has by right of birth a natural reverence for the human spirit. "Learn to make yourself akin to people.... But let this sympathy be not with the mind--but with the heart, with love towards them." In every great Russian writer we seem to discern thefeatures of a saint, if sympathy for the sufferings of others, love towards them, endeavour to reach some goal worthy of the most exacting demands of the spirit constitute saintliness. It is the saint in them which confounds us with a feeling of our own irreligious triviality, and turns so many of our famous novels to tinsel and trickery. The conclusions of the Russian mind, thus comprehensive and compassionate, are inevitably perhaps of the utmost sadness. It might indeed be more true to speak of the inconclusiveness of the Russian mind. It is the sense that there is no answer, that if honestly examined life presents question after question which must be left to sound on and on after the story is over in hopeless interrogation that fills us with a deep, and finally it may be with a resentful, despair. They are right perhaps; unquestionably they see further than we do and without our gross impediments of vision. But perhaps we see something that escapes them, or why should this voice of protest mix itself with our gloom? The voice of protest is the voice of another and an ancient civilization which seems to have bred in us the instinct to enjoy and fight rather than to suffer and understand. English fiction from Sterne to Meredith bears witness to our natural delight in humour and comedy, in the beauty of earth, in the activities of the intellect, and in the splendour of the body. But any deductions that we may draw from the comparison of one fiction with another are futile save as they flood us with a view of infinite possibilities, assure us that there is no bound to the horizon, and nothing forbidden but falsity and pretence. "The proper stuff of fiction" does not exist; everything is the proper stuff of fiction: whatever one honestly thinks, whatever one honestly feels. No perception comes amiss; every good quality whether of the mind or spirit is drawn upon and used and turned by the magic of art to something little or large, but endlessly different, everlastingly new. All that fiction asks of us is that we should break and bully her, honour and love her, till she yields to our bidding, for so her youth is perpetually renewed and her sovereignty assured.。